IMAGE  EVALUATION 
TEST  TARGET  (MT-3) 


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Photographic 

Sciences 

Corporation 


23  WEST  MAIN  STREET 

WEBSTER,  N.Y.  14590 

(716)  i<72-4503 


■1 


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CIHM/ICMH 
Microfiche 


CmM/)CMH 
Collection  de 
microfiches. 


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Canadian  Institute  for  iiistoricai  l\/licroreproductions  /  institui:  canadion  de  microreproductions  historiques 


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Technical  and  Bibliographic  Notaa/Notas  tachniquaa  at  bibliographiquaa 


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Tha  Inatituta  haft  attamptad  t  j  obtain  tha  baat 
original  copy  availabia  for  filming.  Faaturaa  of  thia 
copy  which  may  ba  bibliographically  uniqua, 
which  may  altar  any  of  tha  imagaa  in  tha 
raproduction,  or  which  may  aignificantl^r  changa 
tha  uaual  mathod  of  filming,  ara  chackcd  balow. 


D 


i/ 


D 


Colourad  covara/ 
Couvartura  da  coulaur 


I     I   Covara  damaged/ 


Couvartura  andommag6a 

Covers  restored  and/or  laminated/ 
Couverture  restaur^a  et/ou  peiliculAe 

Cover  titie  missing/ 

Le  titre  dti  couverture  manque 

Coloured  maps/ 

Cartea  gAographiquas  en  couleur 

Coioured  ink  (i.e.  other  than  blue  or  black)/ 
Encra  da  couleur  (i  e.  autre  que  bleue  cu  noire) 


D 


Coloured  plates  and/or  illustrations/ 
Planches  et/ou  illustrations  9n  couleur 


Bound  with  other  material/ 
ReliA  avac  d'autres  documanta 


Tight  binding  may  cause  shadows  or  distortion 
along  interior  margin/ 

La  reliure  serria  peut  causer  de  I'ombre  ou  de  la 
distortion  le  long  de  la  marge  intArieure 

Blank  leaves  added  during  reatoration  may 
appear  within  tha  text.  Whenever  poaaibia,  these 
have  been  omitted  from  filming/ 
II  se  peut  que  certaines  pages  blanches  ajouties 
lors  d'une  restaurntion  apparaiasant  dans  le  texte, 
mals.  lorsque  cela  Atait  possible,  ces  pages  n'ont 
pas  6tA  filmAas. 

Additional  comments:/ 
Commentalres  supplAmentaires: 


L'Institut  a  microfilm*  la  mailleur  exemplaira 
qu'il  lui  a  it*  poaaibia  da  aa  procurer.  Lea  d4taila 
da  cat  exemplaira  qui  aont  paut-Atre  uniquaa  du 
point  da  vue  bibiiographiqua.  qui  pauvent  modifier 
une  image  reproduite,  ou  qui  peuvent  exiger  une 
modification  dana  la  mAthoda  normale  de  filmaga 
3ont  indiquAa  ci-daaaoua. 


I     I   Colourad  paigaa/ 


D 


Pages  de  couleur 

Pages  damaged/ 
Pages  endommagiaa 

Pages  reatored  and/o 

Pages  raawtiiriea  et/ou  peliicuiiea 

Pages  diacolourad,  atainad  or  foxs 
Pages  dicoioriea,  tachatiea  ou  piquies 

V 

Pages  detached/ 
Pages  dAtachiea 

Showthrough 
Tranaparance 

Quality  of  pri( 

Qualit*  InAgaia  de  i'impreaaion 

Includes  supplementary  materi 
Comprend  du  matiriai  aupplimantaira 

Only  edition  available/ 
Seule  Edition  diaponible 


r~~|  Pages  damaged/ 

I     I  Pages  reatored  and/or  laminated/ 

r^  Pages  diacolourad,  atainad  or  foxed/ 

I     I  Pages  detached/ 

r^  Showthrough/ 

I     I  Quality  of  print  variea/ 

I     I  Includes  supplementary  material/ 

I — I  Only  edition  available/ 


Pages  wholly  or  partially  obscured  by  errata 
aiips,  tissues,  etc.,  have  been  refilmed  to 
ensure  the  best  possible  image/ 
Lea  pagea  totalement  ou  partiellement 
obacurcies  par  un  feuillet  d'errata,  une  pelure, 
etc.,  ont  M  film4es  A  nouveau  de  fa9on  A 
obtenir  la  meilleure  image  possible. 


T 

P 
o 
fi 


0 
b 
tl 
si 
01 
fi 
si 
01 


Tl 
s^ 
Tl 
w 

M 
di 
er 
be 

rl« 
re( 
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This  item  is  filmed  at  the  reduction  ratio  checked  below/ 

Ce  document  est  film*  au  taux  de  r4du'*tion  indiqui  ci-dessous. 


10X 

14X 

18X 

22X 

26X 

30X 

V 

12X 


16X 


aox 


24X 


28X 


32X 


The  copy  filmed  here  hat  been  reproduced  thanks 
to  the  generosity  of: 

D.  B.  Waldon  Ubrary 
University  of  Waatern  Ontario 

The  images  appearing  here  are  the  best  quaiity 
possibie  considering  the  condition  and  legibility 
of  the  original  copy  and  in  keeping  with  the 
filming  contract  specifications. 


Original  copies  in  printed  paper  covers  are  filmed 
beginning  with  the  front  cover  and  ending  on 
the  last  page  with  a  printed  or  illustrated  impres- 
sion, or  the  back  cover  when  appropriate.  All 
other  original  copies  are  filmed  beginning  on  the 
first  page  with  a  printed  or  illustrated  impres- 
sion, and  ending  on  the  last  page  with  a  pHnted 
or  illustrated  impression. 


The  last  recorded  frame  on  each  microfiche 
shall  contain  the  symbol  —^^  (meaning  "CON- 
TINUED"), or  the  symbol  V  (meaning  "END"), 
whichever  applies. 

Maps,  plates,  charts,  etc.,  may  be  filmed  at 
different  reduction  ratios.  Those  too  large  to  be 
entirely  included  in  one  exposure  are  filmed 
beginning  in  the  upper  left  hand  corner,  left  to 
right  and  top  to  bottom,  as  many  frames  as 
required.  The  following  diagrams  illustrate  the 
method: 


L'exemplaire  film4  fut  reproduit  grice  A  la 
g«n4)rosit«  de: 

D.  B.  WsMon  Ubrary 
Univartity  of  Wattara  Ontario 

Les  images  suivantes  ont  «t*  reproduites  avec  le 
plus  grand  soin.  compte  tenu  de  la  condition  et 
de  la  nettet«  de  l'exemplaire  film«.  et  en 
conformit6  avec  les  conditions  du  contrat  de 
filmage. 

Les  exemplaires  originaux  dont  la  couverture  en 
papier  est  imprimte  sont  filmte  en  commen9ant 
par  le  premier  plat  et  en  terminant  soit  par  la 
dernlAre  page  qui  comporte  une  empreinte 
d'impression  ou  d'iliustration.  soit  par  le  second 
plat,  salon  le  cas.  Tous  les  autres  exemplaires 
oiiginaux  sont  filmte  en  commenpant  par  la 
premiere  page  qui  comporte  une  empreinte 
d'impression  ou  d'iliustration  et  en  terminant  par 
la  dernidre  page  qui  comporte  une  telle 
empreinte. 

Un  des  symboles  suivants  appara!tra  sur  la 
dernlAre  image  de  cheque  microfiche,  seion  le 
cas:  le  symbole  — ^  signifle  "A  SUiVRE".  le 
symbota  V  signifie  "FIN". 

Les  cartes,  planches,  tableaux,  etc..  peuvent  Atre 
film^s  A  des  taux  de  reduction  diffirents. 
Lorsque  le  document  est  trop  grand  pour  Atre 
reproduit  en  un  seul  clich«.  ii  est  film«  A  partir 
de  I'angle  supArieur  gauche,  de  gauche  A  droite. 
et  de  haut  en  bas.  en  prenant  le  nombre 
d'images  nicessaire.  Les  diagrammes  suivants 
iiiustrent  la  mithode. 


1 

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3 

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2 

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University  of  Western  Ontario 
LIBRARY 

LOMtOIN         .         CANADA 

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PRICE    ONE    DOLLAR. 


GREATEST  MEANS  EVER  KNOWN  FOR  LEARNING  TO  WRITE  AN  ELEGANT  HAND. 

NOTHING  LIKE  IT  EVER  PUBLISHED  BEFORE. 
SOMETHING  ENTIRELY  NEW.     SOMETHINQ  THAT  EVERYBODY  WANTS.     SOMETHING  THAT  HAS  THE  MOST  ENTHRALLING  INTEREST  FOR  ALL. 


The  Real  Pen- Work  Self-Instructor  in  Penmanship 

Contains  more  Co/'i'K,  more  Oniamen/nl  M'ork,  antJ  more  and  hettvr  Tnstric'tionK,  for  /irirnin;/  tin-  M'liole  Art  of  Pi'miuinn/iip  trit/ioiif  a  teafher,  than  any  other  ioork  ever 
Jlll/tfi.^hld  ill  the    Wor/d.     Kiierythin;/  i.t  ex/ilained  in  snrh  a  plain  and  .lini/ilf  >ra>/,  that  any  one,  no  matter  hoir  dijUctdt  irriting  may  natiirally 

lie  to  him,  can  learn  to  write  a  /leaiitifid  hand  in  an  incredihly  nhort  lime. 

No  Other  Publishers  in  the  World  are  Giving  the  People  as  Much  for  the  Money.     Nothing  Like  it  Ever  Known  Before. 

27ie  Largest  and  most  eleynntly  fllii.itrated  Work  on  the  subject  of  Pcnmamhip  erer  published  in  the  World.     Erpert  Penmen  and  Men  of  Learning  everyichere,  all  admit 

that  the  Ileal  Pen-  Work  Self- fnstriicfor  is  the  greatest  ineuns  ever  known  for  learning  to  lerite  an  elegant  hand. 


Copyrighted  IMI,  hj  KsnWLES  &  Maxim,  Publlataen. 


68439 


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INTRODUCTION 

TO   TIIK 

Real  Pen-Wo;1k  Self -Instructor  in  Penmanship, 

It  ^  ,    . 

rUIILI8IIEl>   BY  "  . 

-  KNOWLES  &  MAXIM,  PITTSFIELD.  MASS- 
PRICE  ONE  DOLLAR  PER  COPY. 

GREATEST  MEANS  EVER  KNOWN  FOR  LEARNING  TO  WRITE  AN  ELEGANT  HAND. 


Thii  Book,  The  Real  Pen-Work  Si'lf-Inatructor  in  I'enmnn- 
•hip  is  the  largest,  and  by  far  tlu^  hi-at  and  most  elegantly 
iUnatimted  work  ever  published  oi.  t)ie  subjeet  ut'  iieninanship. 

THIS  BOOK, 
The  Beal  Pen-Work  Self-Instructor  in  Penmanship  is  uni- 
Tcrially  acknowledged  by  expert  penmen,  writing  teaeh- 
en  in  business  colleges,  and  by  men  of  learning  and  the  best 
jlldgea  everywhere,  to  be  the  ijreatesl  means  et-er  knoiuii  for 
haming  to  write  an  elegant  hand;  everybody,  everywhere, 
■11  •cknowledge  this  work  to  be  the  greatest  means  ever 
known  for  kaming  to  do  pen-drawing  and  f1f>\irishing  and 
•n  kinds  of  the  most  beautiful  ornamental  pen-work. 

How  "We  Came  To  Publish 

TBEBEAL PEN-WORK  SELF-INSTRUCTOR  IN  PENMANSHIP. 

A  short  time  since,  one  of  the  partners  of  this  lirm,  per- 
fected a  ncv  and  ingenious  electrical  jirocess,  which  we  call 
photo-electrographing,  by  whieli  process,  all  kinds  of  writing 
■nd  pen-work  can  be  reproduced  on  paper  in  any  color,  or 
sombination  of  colors  and  gold,  so  perfect  and  exact,  that 
ihe  reproduction  or  photo-eh'ctrogrHi)h  cannot  be  told  from 
ahe  original  writing. 

THE  PHOTO-ELECTROGRAPHING  PROCESS. 

When  we  first  perfected  the  photo-electrograpliiiig  process 
for  reproducing  real  pen-work,  we  realized  we  had  found  a 
means  for  publishing  tlie  greatest  book  on  penmanshi|)  ever 
conceived  of. 

We  resolved  to  collect  all  the  best  speciiiiens  of  pen-work 
by  all  the  best  and  most  skillful  penmen  and  pen-artists  in 
the  whole  world,  no  matter  what  tliey  might  cost,  and  to 
publish  a  work  on  penmanship  that  everybody  would  want, 
and  as  all  the  copies  in  the  book  would  be  real  pen-work  in- 
stead of  engraved  work,  we  realized  that  we  could  publish 
the  most  perfect  self-instructor  ever  known.  We  have 
spared  no  expense  to  employ  the  very  best  penmen  and 
teachers  of  penmanship  throughout  the  world,  to  set  all   the 


copies  and  write  instructions  and  full  explanations  all  about 
everything  so  that  any  one  can  go  riglit  to  work  and  make 
anything  contained  in  the  book,  and  be  able  to  write  an  ele- 
gant hand,  almost  fnmi  the  start,  with  but  very  little  practice. 

TIIK  REST  OF  ALL 

that  was  ever  thouj;ht  of  by  all  the  very  best  writers  and 
I  penmen  that  ever  lived,  to  make  it  easy  fi  learn  to  write, 
^  to  learn  all  the  different  anil  iiioiit  lienuli/itl  styles  of  elegant 

writing  and  ornamental  ]icnniaiiship.  is  contained  in  the  Real 
I  Pen-Work  Self-Instructor.  It  is  full  of  the  prettiest  things 
j  ever  done  with  a  pen.  Full  of  perfect  real  written  copies, 
I  and  it  contains  full  an<l  complete  instructions  for  learning  the 
I  whole  art  of  penmanship  wilhoii'  ;i  teacher. 

IT  TEACHES  AND  SHOWS  YOU 

j"S'  ,iOiv  to  go  to  work  to  leant  to  write  nicel;/,  and  just  how- 
to  make  everything  that  can  be  thought  or  conceived  of 
that  is  beautiful  or  desirable  to  do  with  a  pen. .  Everything 
is  made  so  plain  and  simple  and  easy,  that  no  one  can  fail  to 
understand  it  all,  and  no  one  can  iiiil  to  learn  to  write  an  ele- 
gant hand  from  the  Self-Instructor,  in  a  very  short  time,  if  he 
will  only  try.  Notliing  has  been  neglected.  Everything  is 
explained  in  such  a  pliin  and  simple  way,  that  no  one  can  fail 
to  understand  it  all.  A?  strange  a^  it  nuiy  seem,  any  one, 
young  or  ohi.  even  the  dullest  sehdlar,  if  he  will  try,  can 
learn  from  this  book  to  write  an  elegant  hanil  in  only  a  f-w 
weeks. 

THE  SELF-INSTRUCTOR 
is  not  a  eolieetion  of  hard,  engraved  copies,  which  no  one 
ever  did  or  could  ever  learn  to  do  with  a  pen,  but  the  whole 
book  is  all  real  pen-work.  All  the  copies  and  all  tlie  writ- 
ing and  ornamental  work  in  this  whole  book  is  all  real  pen- 
work  just  as  it  was  executed  with  a  pen,  and  then  photo- 
elect  rographcd. 

LOOK  THE  SELF-INSTRUCTOR  THROUGH 

and  you  will  see  a  greater  variety,  and  more  styles  of  elc-  i 
gant  writing,  and  more  designs  of'  beautiful   flourishing  and  , 


I  ornamental  work,  than  you  can  find  in  any  other  collection 

j  in  the  world. 

This  work  is  complete  in  everything  in  the  form  of  pcn- 

!  manship. 

I      But  the  great  secret  why  it  is  so  easy   to  learn  to   write 

I  fn  m  the  .Self-Instructor,  is  because  everything  in  the  whole 

1  book  is  so  thoroughly  explained  that  you  cannot  help  under- 
standing all  about  it.     Every  letter,  every  plain  and  orna- 

I  mental  copy,  is  explained  by  itself  in  such  a  plain  and  sim- 
ple  way   that  anybody  who  can   reail  (umnot  help  seeing 

I  just  how  to  do  it  himself.     For  example,  if  you  wa  it  to  make 

'  any  kind  of  a  flourished  !ird,  this  book  shows  yi  i  -st  how 
to  do  it.     It  shows  you  just  how   to  begin,  how  to  ,  roceed 

I  and  how  to  finish  the  bird  ;  and  so  it  is  with  all  the  plam  and 
ornamental  writing.  Every  copy  is  thoroughly  explained. 
Nothing  has  been  neglected.  Everything  that  you  can  find 
in  the  Real  Pen-Work  Self-Instructor  in  Penmanship  is 
thoroughly  exphiineil,  and  made  so  plain,  siiuple  and  easy, 
that  you  cannot  possibly  fiiil  to  unilerstand  it  all,  and  you 
caimot  fail  to  learn  to  write  an  elegant  hand  in  a  very  short 
tinu',  if  you  will  try. 

No  matter  how  difficidt,  writing  may  naturally  be  to  you, 
you  can  learn  from  the  Self-Instructor,  in  oidy  a  few  weeks, 
to  write  and  draw  just  as  well  as  any  of  the  specimens  con- 
tained in  It,  lliat  have  been  inserted  to  show  the  improve- 
ment that  others  have  made.  There  is  no  more  doubt  about 
it  than  there  is  that  the  sun  rises  and  sets. 

EASY  TO  LEARN  TO  WRITE. 

THE  BEAUTIFUL  ART  MADE  EASY. 

All  the  best  copies  and  all  the  best  instructions  and  very 
best  niethoils  for  learning  to  write  an  elegant  hand,  quickly 
and  easily,  ever  taught  by  all  the  very  best  penmen  and 
writing  teachers  in  business  colleges  and  writing  schools  in 
the  whole  worlil  are  contained  in  this  book.  Everything 
necessary  to  make  it  a  very  easy  matter  to  learn  to  write  an 
elegant  hand  is  contained  in  this  book,  the  Real  Pen-Work 
Self-Instructor  in  Penmanship. 


"WONDERFUL   IMPROVEMENT. 

The  work  on  this  pajfo  shows  what  Mr.  Morgan  learned  lo  do  iifti-r  oidy  livu  weeks'  j)riictico  from  tlio  Ueid  PenAVork  Solf-lnstruetor  in  Penmanship. 

It  must  seem  wonderful  to  a  person  who  never  saw  the  Self-Instructor,  that  any  one  could  learn  to  write  so  well,  and  do  such  nice  work  in  so  short  a  time.  A  short 
time  ago  Mr.  Morgan  was  only  an  oniiniiry  writer.  Now,  after  only  a  few  weeks'  practice  from  the  Real  Pen-Work  Selt-I-.istruotor,  ho  has  learned  to  l>e,  as  the  above  work 
■hows,  one  of  the  most  elegant  writers  and  hnest  ornamental  peinnon  in  the  whole  world  !  Sueii  Wonderful  Improvement  must  seen;  more  like  a  fairy  dream  than  a  reality 
to  any  one  who  never  saw  this  Self-Instructor.  But  the  fact  is,  it  is  easy  cTioug'h  to  learn  lo  write  well  when  you  have  the  proper  instruction.  A  person  needs  to  be 
shown  how.     The  Self-Instructor  tells  you  all  about  it.     It  is  tlio  greatest  means  over  known  for  learning  to  write  nn  elegant  liaiid. 


'i^-ii.iik 


HOW  TO  SIT  AT  THE  DESK 


HOW  TO    HOLD  YOUR    PEN. 


A  correct  position  at  the  desk,  and  als-  for  luddiiii;  the  pen,  nre 
iiuti.tpcn.tahic  to  pmd  ])(Mun:in!thlp  The  foUnwitifr  thnvtiontt  nnd 
instructions  shoiihl  he  rarefully  hot'dtMl  As  tlic  Tirsi  act  of  a  j  ersori 
ill  preparing  to  write  is  to  take  a  position  at  the  desk,  this  dcniiinds 
our  tirst  attention.  It  is  a  nuticcahle  fart  thnt  in  all  oiTUpntionH 
there  is  some  one  position  of  tlic  hody  hotter  adnpttMl  tlian  any 
"tiicrto  each  partifular  kind  of  work  ;  and  tliis  is  purtirularly  true 
in  ro<;ard  to  pennianship.  As  all  written  forms  rorrofipDnd  to  the 
inoveinents  that  produce  tlietn.  heautifiil  and  syinnietrical  Tetters 
ran  l)e  formed  only  hy  free  and  rpu'ular  mox  puifuts ;  and  such 
movements  depend  npof  those  of  the  mnsclos  of  ttie  arm,  hand  and 
tin;;i'rs,  which  are  rhit^Hy  ronncrtrd  In  the  production  of  written 
f4)rm8.  That  position  which  ^'ives  the  nniscles  a  free  and  easy 
action  is  ))est  suited  to  tlie  purpose.  It  is  impossible  to  assumtt  a 
free  and  e;u»y  ptisiiion  while  usinj;  a  desk  or  tul'h'  that  is  iH)t  of  the 
[iroper  heii;lit.  The  height  of  tahlc  or  desk  is  h»st,  at  which  a  per 
son,  when  sitting  in  an  erect  position,  with  the  fpct  ]ilaced  firiuli 
upon  the  lioor,  and  the  tdliow  on  tlie  desk,  tinds  tliiit  his  shonhh'r  is 
in'ither  elevated  nor  depressed.  After  tlius  preparirijr  yourself,  tlie 
next  thiiii;  that  requires  the  attention  is  tlie  manner  of  holding  tlie 
pen;  there  is  no  point  in  penmanship  demanding:  chpser  attention 
than  this.  The  demand  arii^fs  fri>ni  the  fact  that  he^inners  almost 
invariahly  hold  the  pen  improperly,  and  that  it  is  one  of  the  most 
dillieult  tilings  to  learn;  yet  care  and  patience  will  t<oon  hring 
aliont  the  desired  result,  and  when  the  correct  position  is  once 
thorou'.;hly  fixed  there  is  no  dan>ier  of  losini:  it.  We  present  the 
ftdlowinir  nicthod  f<ir  hohliuK  the  pen.  which  "Ur  experience  in 
renchiiit;  liiis  j;iven  ua  ample  reaaon  to  helieve  to  l>e  the  most  practi- 
i-aMe :  Take  the  pen  in  the  hand  hetueen  thethnmh  ami  tiie  tirst 
:iimI  second  tlnjiers,  in  such  a  manner  that  the  holder  shall  cross  the 
tirst  tinner  just  ahove  the  knuckle  joint.  Let  the  second  tinjjer  drop 
lielow  the  first  .so  that  the  holder  Rliall  cross  it  at  the  root  of  the  nail. 
The  tliinl  and  fonrtli  tiu;:ers  slxmld  curve  hene:iih  the  hand  and 
rest  upon  tlie  n.iiU.  This  is  the  most  natural  method  for  hohjing 
ihe  pen.  for  wl  "  ..t  rest  the  hand  invariably  assuniea  this  position. 
With  these  dip  .ion«  and  tlie  help  of  the  accimipanyin^  cuts,  the 
student  cannot  fail  to  acipiire  a  correct  position  ns  readily  iw  with 
the  assistance  of  an  experienced  teaclier. 


-^^ 


■Ji 


The 
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the  v)hol 

Th( 
ing  to  a 
practice 
under  e 
the  mo'v 

By 

very  eai 

Iti 
hand  if 
eroises 
tellyov 


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Thii 
to  make  I 
little  atte 


Thi( 
moving  I 
the  maw 
Ingnrk 


ALL  THE  MOVEMENTS  USED  IN  WRITING  THOROUGHLY  ILLUSTRATED  AND  EXPLAINED. 


There  are  four  principal  movements  used  in 
writing.  The  finger,  the  ilide,  the  muscular  and 
the  whole-arm  movements. 

The  following  exercises  are  arranged  accord- 
ing to  a  new  m?thod,  and  it  requires  but  very  little 
practice  with  the  help  of  the  instructions  given 
under  each  exercise  to  get  perfect  control  of  all 
the  movements. 

By  a  little  practice  on  these  exercises,  it  is  a 
very  easy  matter  to  learn  to  write. 

It  is  easy  enough  to  learn  to  write  an  elegant 
hand  if  you  have  the  proper  instruction  ;  these  ex- 
ercises and  the  following  analysis  of  all  the  letters 
tell  you  all  about  it. 


Exrrctfte  for  PrfUitlcn  on  the  Flnfcer  Moretnent. 

This  movement  !■  made  by  the  fingers  alone.  It  is  so  nataral 
to  make  letters  with  the  Angers  tliat  this  movement  reqnires  but 
little  attention. 


~4  Sxenslse*  far  Praetloe  on  the  Slide  Movement. 

This  movement  is  a  motion  of  the  arm  from  the  elbow  withoot 
moving  the  joints  of  either  the  fingers  or  wrist.  Rest  the  arm  on 
the  mnscle  near  the  elbow  and  the  hand  on  the  ends  ^f  the  iast  two 
flogan. 


Exercises  for  Practice  on  the  Finger  and  Slide  Movements 
Combined. 

These  are  illustrations  of  the  way  in  which  all  the  short  letters 
shonld  be  practiced.  Use  the  slide  movement  as  mnch  as  possible 
while  practicing  on  these  exercises,  for  yon  are  sura  to  use  the  fin- 
gers enough. 


Exercise  for  Practice  on  the  Mnscnlar  Movement. 

This  movement  is  produced  by  rolling  the  arm  on  the  mnscle 
just  below  the  elbow,  without  moving  the  joints  of  either  the  fingers 
or  wrist.  Move  the  fingers,  hand  and  arm  altogether  as  one.  This 
movement  is  always  combined  with  the  finger  movement,  but  it  is 
only  the  muscular  movement  that  requins  attention,  for  the  fingers 
will  take  care  of  themselves. 


Exercise  for  Practice  on  the  Flnirer,  Slide  and  Mnscalar 
Movements  Combined. 

Make  the  first  line  with  the  slide  movement,  the  body  of  the 
letter  with  the  finger  movement,  then  finish  by  throwing  a  carved 
lino  over  and  around  the  letter  witli  the  muscular  movement. 


Exercises  for  Practice  Ok;  the  FInRer,  SUde  and  Whole-Am 
Movements. 

Thi*  is  one  of  the  very  best  exercises.  A  very  little  practiu. 
on  this  exercise  will  produce  wonders.  A  person  will  sometimes 
get  control  of  all  the  movements  in  this  exercise  by  practicing  five 
minutes. 


Exercise  for  Practice  on  the  Whole-Arm  Movement. 

This  movement  is  produced  by  moving  the  whole  arm  from  the 
shoulder,  resting  only  the  hand  on  the  ends  of  the  last  two  fingers. 
In  making  large  flourished  capitals  and  doing  all  kinds  of  off-hand 
work,  this  movement  is  the  best. 


Exercises  for  Practice  on  the  Finger,  Slide  and  Mnscalar 
Movements,  also  Shading  Exercises. 


Exercise  for  Practice  on  the  Capital  Stem. 

The  capital  stem  is  the  most  important  principle  used  in  mak 
ing  capital  letters,  and  it  is  one  of  the  very  best  exercises  for  prac. 
ticing  on  the  whole-arm  movement. 


Exercise  for  Practice  on  Direct  and  Indirect  Oval,  also  8hadlB« 
Exercise. 

This  exercise  is  adapted  for  practice  on  either  the  miucnlar  or 
whole«rm  movement. 


II! 


thorou 
each  1< 
write 
you  ca 


-.  -^m-m 


ANALYSIS. 


*  We  give  on  vhis  and  the  following  six  pages  a  complete  analysis  of  all  the  letters.  Every  letter  of  the  whole  alphabet  is  taken  all  to  pieces,  one  at  a  time,  and 
thoroughly  analyzed  and  explained  by  itself,  in  such  a  plain  and  simple  way,  that  you  cannot  help  seeing  and  understan<ling  all  about  it.  You  can  see  at  once  just  how 
each  letter  is  made.  No  one  ever  fails  who  tries  to  learn  to  write  from  this  method.  \\\  succeed  far  beyond  their  expectations.  Even  the  dullest  scholar  can  learn  to 
write  well  from  this  method  in  a  very  short  time.  Do  not  fail  to  study  carefully  the  instructions  given  on  this  and  the  following  six  pag^s.  Vou  will  be  surprised  that 
you  can  learn  to  write  an  elegant  hand  so  rapidly  and  easily. 


N  _ 


>i  _ 


Thli  aoala  or  aqiurs  showB  ttaa  length  of  all  the  tmall  letters  in  thettsndard  huid,  or  the  lUe  ot  letters  uied  in  ordlnnry  practical  and  bu«ine« 
writing.  The  standard  hand  is  the  beet  sise  for  all  praetlcal  purposes.  In  the  standard  hand  the  spaces  are  just  one-elffhtb  of  an  inch,  and  the 
latter  u,  whloh  U  used  to  mMSure  both  the  height  and  width  of  all  written  letters,  is  just  one.ei|htn  of  an  iuob  high  and  one^lghth  wide. 


This  soale  or  square  shows  the  length  of  all  the  capital  letters,  which  In  the  standard  hand  are  all  three-eighths  of  an  inch  long,  except  J,  y  and  s,  which  are  full  length,  or   STe^eighths 
of  an  Inch  long. 


to 


Copyrighted  1382,  by  the  Publishers,  Knowlks  &  Masiu. 


[^ 


thing 


Scale  Showing  How  Much  to  Slant  Letters. 


When  letters  are  put  together  to  make  words  thoy  must  all  have  the  same  slant  in  order  to  look  well. 

All  good  penmen  agree  that  letters  look  the  best  when  slanted  about  52°  (fifty-two  degrees)  from  the  horizontal,  the  same  as  you  see  them  in  the  above  out. 
By  comparing  the  letters  with  the  scale  of  slant,  the  same  as  you  see  in  the  above  cut,  you  will  see  at  once  just  how  much  to  slant  all  the  letters. 
m)w  much  to  slant  letters  is  one  of  the  first  and  most  important  things  to  learn.     By  the  use  of  the  above  cut  and  these  instructions,  it  is  also  one  of  the  easiest 
things  to  learn,  for  you  can  see  at  once,  without  any  trouble  at  all,  just  how  much  to  slant  letters. 

Copyrighted  1883,  by  Knowles  &  Maxim,  Publishers. 


— i.-^-f.  iiMiHiWUiMHwa 


■#•: 


Principles  and  the  Capitals  A,  N,  M,  T,  F  and  K  Thoroughly  Analyzed  and  Explained. 


The  flrit  principle  Is  oalled  the  straipht  line  and  In  usiiatly  one 
apace  In  length,  and  in  all  letters,  except  small  x,  has  a  slant  of  AiJ 
degrees. 

The  seooml  principle  li  called  the  right  rurre  and  Is  thus  named 
because  It  Is  found  on  the  right  side  of  any  oval  figure.  It  Ih  usu' 
ally  made  on  the  conmctive  tlant  uf  'M  dei{rec'«. 

The  third  principle  Is  called  the  /^rtirre  because  found  on  the 
left  of  anx  oral  tlgure.  It  is  usually  nude  on  the  slant  of  'M  do- 
greea. 


The  fourth  principle  is  called  the  ertended  loop  and  is  f<irnied 
by  the  union  of  tlie  tirst  three  principles,  the  second  and  third 
forming  a  loop  crossing  one  space  above  base  line  and  one-third 
the  height  of  principle. 

The  Hfth  principle  ta  called  the  enpHal  O.  and  ronsists  nf  left 
c'lrve,  broail  turn,  right  curTc,  broad  lurn  ;...d  left  evirvo,  torml 
nating  one-third  spare  from  base  line.  Kntire  height,  threH  spaces: 
entire  width,  two  spaces;  distance  between  left  curTes  one-third 
spaee. 


The  sixth  principle  Id  called  the  iiirertetl  nntl  luid  cnnsiMtH  of 
left  eurvi',  broiui  turn  and  righs  i-urvo.  Height  three  spaees; 
Width  at  one-half  the  height,  one  and  une-half  spaces  :  at  iHJtteni, 
one-third  space. 

The  Keventh  principle  is  ealled  the  capital  gfem  and  consisU  of 
a  left  eurve,  a  right  eurve  and  a  left  curve,  the  Inst  tw<»  forming 
oval,  two  and  one-half  tpaws  in  length  and  one  and  une-balf  siioces 
In  width.    Slant  of  oval  i;i  degree*. 


Capital  A  consists  of  capital  stem  Jolneil 
angularly  at  top  to  a  slight  left  curve  extend- 
ing dWergtntly  to  base  line  and  Unlshed  by 
left  curve  uniting  with  right,  orosslng  first  left 
curve  one-half  space  above  base  line  and 
terminating  one  space  above. 

Analysis:  Pr^iclples  7, 3, 3, 3. 


Capital  ^conslstsof  the  first  two  lines  of  A 
united  by  short  curve  at  bottom  to  a  left  curve 
expending  two  spaces  above  base  line.  Dls. 
tanee  between  lines  at  half  the  height  of  let- 
ter should  he  ei|na1. 

Analysis:  Principles  7, 3, 3. 


Capital  3/^  consists  of  the  first  two  lines  of  N 
joined  by  short  turn  to  left  curve  extending 
upward  three  spaces,  unittns  angularly  with 
left  curve  extending  to  base  line,  joining  witli 
short  turn  to  a  right  curve  extending  upward 
one  sppce.  At  half  the  height,  three  equal 
spaces. 

Analysis:  Principles  7,  3,  3,  L>. 


Capital  T  conaista  of  the  capital  stem  modi* 
fled  by  being  bent  and  shortened  one-half 
ipaoe  at  top.  over  this  Is  plaoeKl  the  oap  of  let- 
ter, oonalfftiDg  of  left  curve,  Inverted  loop 
and  left  and  right  onrre.  At  left  of  oapltal 
■tarn,  three  eqnal  spaces.  The  oap  should  be 
made  first. 

Analjals:  Prinoiplea  7. 8,  S,  3. 


Capital  F  la  formed  the  same  as  T,  except 
that  the  last  carve  of  the  oval  of  capital  stam 
la  bent  downward  and  extended  upward  acroas 
the  capital  stem,  terminating  with  left  curve 
extending  from  one-half  the  height  of  letter 
downward  one-fourth  space. 

Analysis:  Principles  7, 3, 2, 3. 


Capital  K  consists  of  the  first  two  lines  of  H, 
to  which  is  added  a  left  and  right  curve  unit- 
ing  by  loop  at  half  the  height  of  letter  to  a 
right  and  left  curve  Joined  on  base  line  to  a 
right  carve  terminating  at  head  line. 

Analytla:  Principle!  2,  7, 3, 2,  2,  3,  2. 


Copyrighted  1882,  by  the  Publishers,  Kxowles  &  Maxim. 


t 


pom 
tbat 


rtl 


The  Capitals  H,  P,  B,  R,  G  and  S  Thoroughly  Analyzed  and  Explained. 


tmtfnmmmmm^nm't^—9'**f—mtr  •«•>■••••. • ■   ■   • 

x^" ^.^.y^- ^y 


g 


Capital  ir  frinslau  of  left  curve  extending 
upward  from  tiiui'  tine  two  ami  ono  half  Hpacee, 
diiitinte  angularly  to  a  capital  ntem  itralghten- 
eil  at  top;  to  thin  portion  are  added  lines  Rlml- 
lar  to  the  laat  two  In  A,  except  that  the  flrit 
ot  theie  lias  greater  curraturo  at  top.    The 

portion  of  onl  above  dividing  Hne  Is  one  and  one-half  timM 

ibat  below.    Analysis:  Principles  2,  7,  3,  A,  2, 


! 


Gapltnl  n  U  formed  the  Aame  as  B  dovn  to 
and  inoluding  loop,  from  which  it  Joliii  a  right 
and  left  ourve  united  by  ihort  turn  at  base 
line  to  a  right  ciirvo  terminating  one  space 
from  base  line. 

Analysis:  Principles  T,  3,  i,  S,  3,  2. 


Capital  I*  begins  two  and  one-half  spaoea 
aboTebase  line  with  first  two  curves  of  capital 
stem,  uniting  by  hrojid  turn  to  left  curve  as- 
cending tu  ftill   height  of  letter  and  uniting 
by  broad  turn  to  right  curve,  crossing  first  left 
curve  two  and  one-third  and  one  anil  on^half 
spares  above  base  line.    Widtti  of  oval,  one  and  one-half  spaoM; 
between  capital  stem  and  last  right  curve,  ou»-hal(  space. 
Analysis:  Principles  7,  3,  2. 


Capital  G  consists  of  right  curve  extending 
upward  from  liase  line  tliree  spares,  where  it 
unites  by  short  turn  to  left  curve,  crossing 
first  curve  one  spnoo  atmvo  baoe  line  and  unlt- 
Inj;  by  broad  turn  to  a  riRht  curve,  which  joins 
angularly  at  half  the  height  of  letter,  to  the 
lower  half  of  capital  stem. 

Analysis:  Principles  2,  3,  2,  ti,  7. 


Capital  B  Is  formed  like  P,  and  has  small 
loop  crossing  capital  stem  at  right  auglew  at 
half  height  of  letter,  Joined  to  risht  curve, 
uniting  one-fifth  space  below  base  line  to  left 
curve  eztondtng  tu  one-half  height  of  letter. 

Analysis :  Principles  T,  3.  2, 2, 3. 


Capital  .^consists  of  right  curve  extending 
from  base  line  upward  three  spaces,  united 
by  short  turn  to  capital  stem,  modified  by  In* 
creased  cnrvatnre.  The  oval  is  divided  slmi- 
inrlv  to  If  and  K.  Loop  crossing  one-half  th^ 
height. 

Analysis:  Priuolples  2,  7. 


Copyrighted  1882.  by  the  P^ublishers,  Kno  tlbs  &  Maxim. 


Jk 


i. 


mm 


^" 


The  Capitals  L,  I,  J,  0,  E  and  D  Thoroughly  Analyzed  and  Explained. 


Copyrighted  1882,  by  tlie  Publishers,  Knowlks  &  Miixiu. 


"m 


Th 


y" 


^ 


The  Capitals  C,  X,  W,  Q,  Z,  V,  U,  Y,  and  the  Character  &  Thoroughly  Analyzed  and  Explained. 


f'ftpital  C  ("oiirtists  of  rijjbt  curve  Mi-emllnu 
three ^pAout*.  Jniiiya  b\  shtirtturiito  left  oiirve, 
fiirininn  l'"»p  <>IH' BiiRtH'  »1>*>to  I'We  line,  unit- 
hig  nenr  batio  line  liy  lirottd  turn  to  1'ift  curve 
aiut  lit  hiiir  hctKlii  by  bmnil  turn  to  left  curvu 
tt'inilnntin^  uif-thinl  Hpaoe  nlxive  baco  lino. 

PistHuoo  iHHween  b'fi  ciirvuH,  one-tliinl  space;  bei\vf»Mi  last  iwo 

curving,  Olio  and  une-ihlrd  ttpiiccii. 
Capital  G  is  formed  by  unititig  the  extended  l<H>p  to  n  i^niall 

caplUlU.     AnalysiH:  Trinoiplei*  J,  S. 


Capital  A*  concifits  of  the  Inverteil  oval,  to 
which  is  added  a  left  eur\e  uniting  at  base  by 
pliort  lurii  ti>  right  curve  exieiiding  one  s|>aoe 
above  base  line.  Ptstnut'o  between  oval  and 
left  curve  at  top,  oi.e  and  two-thirds  spaces; 
at  bottom,  one  and  one-third  spaces. 

Analysis;  Principles  ti,  ;i,  l'. 


Capital  /  ronaUta  of  the  InverM  nvtl  which,  ity  •Untttiff  loop  croMing  ont  ■two* 
abovii  buM  ILu«,  utiitM  to  «  modiflcd  InvcrtM  cxtcndfil  loop  anA  eoroplatci  the  latttr. 


Capital  If  consists  of  inverted  oral  Joined 
angularly  at  base  line  to  a  diveruint;  riKhC 
curve,  exiemlinj;  upwanl  three  spacer,  wlicre 
it  unites  aiiitiilarly  to  iliverKin^  left  curve, 
which,  at  bnfe  line.  Jottis  anuularly  a  left 
curve  terntiiialiiiu;  two  s|Miceii  above  bime  line. 
At  lialf  the  height  thi>re  should  Ih.' throe  e«iual 
spaees. 

Analysis:  rrlnclplea  il,  'J,  .1,  3. 


Capital  V  consists  of  the  inverted  ora], 
joinetl  at  base  line  b;  sliort  turn  to  ft  right 
aiiit  left  eiirvo  terniinatinu  one  space  from 
oral  nnd  two  spaces  alH>Te  base  line. 

Analysis;  Principles  ti,  l!,  a. 


Tapltftl  r  consists  of  the  Inverted  oTftl 
nnitt^'d  at  base  by  short  turn  to  a  right  curve 
which,  at  two  spaces  above  base  tine,  unites 
angularly  to  straight  line  Joinetl  by  short  turn 
at  base  to  ri^ht  curve,  terminating  one  space 
from  straight  line  antl  fr^n  base  line.  Dls- 
tftnce  between  oval  and  straight  IlDe,onespftoe. 

Anftlytls:  PrlnctplM  6,  3, 1, 3. 


Csvltil  ;  eonaitts  of  lBrs*tfld  DTal.ahnrt  Ivrn,  ri(.hl  '-nrv*  and  itnl^htltn*.*!  Ii 
Ui  tnt  IstltrJolBlnR  thf  InTarttil  and  nvarafd  tilPRdad  lonp,  complttea  the  lattar. 
DIatanca  bftw«cn  oval  fend  atradghl  llat.  ova  apsca.    Analytiat  PHnelpIr*  6,  |,  i. 


The  chanptflf  *  consists  of  l«ft 

right   curve,  broad  turn,  left 

and  right  eurve.  upper  turn,  left 

and  riglit  curve,  broail  turn,  left 

ourTo.    Height,  three  spaces. 

Anftlyilt:  Prlnclp^^-  3,  ?,  3, 2, 3. 


Copyrighted  1882,  by  the  Puhlishprs,  KNOVt'LKS  &  Maxim, 


1 


J 


Tl 

Tl 

Tl 

Tl 

forr 

wur 

war 

basi 

tUrt 


II  pw 
■lid 
dow 
clow 
up* 


\d. 


Tl 

Ian 

upw 
•Inl 


Tt 
ear 
up« 
lint 


All  the  Small  Letters  Thoroughly  Analyzed  and  Explained. 


The  first  principle  is  the  straight  line. 

The  second  principle  Is  the  right  curve. 

The  third  principle  Is  the  left  ounre. 

The  fourth  principle  is  the  extended  loop,  it  fs 
formed  of  the  Itrst  two  principles,  as  follows:  Up- 
ward right  curre  three  spaces,  turn,  and  do\rn- 
ward  straight  lino  crossing  right  curve  one  space  from 
tMse  line.  This  principle  Is  jue-half  spaoe  wide  and 
three  spcces  high. 


The  letter  I  oonitsts  of 
upward  right  curve  one 
space  high,  downward 
straight  line  to  ruled  line, 
upward  right  curve,  dot 
one  space  above  lot:?r. 
Analysis:  Princlplea  J,  1,  2. 


The  letter  U  eonsists  of  the 
three  Hues  of  I  with  a  repeti- 
tion of  the  last  two  lines.  It  Is 
one  space  high  and  one  space 
wUe  and  is  used  for  measuring 
both  the  height  and  width  of  all 
written  letters. 
Analysis:  Principles  if,  1,2, 1,2. 


The  letter  W  consists  of  the  let- 
ter U  cbange<l  by  making  the  third 
right  curve  one-half  spaoe  nearer 
the  straight  line,  and  finish  with  a 
horizontal  right  curve. 

Analysis:  Principles 2, 1, 2, 1, 2, 2. 


Thf  r»tter  E  consists  of 
upwarc/  right  curve,  down- 
ward left  curve,  crossing 
I  right,  curve  oiie-ihlrd  space 
from  b;i8e  line,  turn,  up- 
ward right  curve. 
Aualy8is:PrlD0iple82,3f2. 


The  letter  C  con- 
sists of  upward  right 
curve.downward  left 
curve  one-sixth 
space,  upward  right 
curve,  downward 
left  curve,  upward 
right  curve. 

Analysis:  Princi- 
ples 2,  3,  2,  a,  2, 


Tht  letter  R  eoniUti  of 
upward  rlthl  eurv*  une 
■nd    one-rourih   ■piM, 

(lownwftrd  left  I'lirve, 
iluwn«r*rd  ftriitiht  line, 
upwftnt  right  curve. 

AdkItiUi  Frloe'plMS, 
9.1.8. 


Tha  letter  8  ooniUle  of  up- 
wanl  right  curve  one  end 
nne-fouiUi  epece,  downwird 
compound    curve,    upwerd 

rlfht  curve. 


The  letter  N  roniiite  of  upwerd  left  enrrv, 
dnwnwsrd  itralKlit  line,  upwud  tvft  curve, 
downw«Tdetra)|titlin«,  upward  rlfht  curve. 

AoaljrtUi  FrindplM  8. 1, 8. 1*  S. 


The  letter  X  cooefate  ofthe 
lut  two  llnee  or  M  with  ■ 
■triliht  line  made  upward 
on  ft  aUat  ot  40  decrees  c  riMk- 
inn  t)r«tatr*i|ht  Tine  at  halt 
the  height. 
Anal/aU:  P-inciplce  3, 1,2,  i. 


The  letter  O  cosalat* 
of  upwaid  Irft  curve, 
downward    left    curve. 


upward  rlshl   curve, 

'lorliontal  right  curve. 
Analye'ail^QcipleaS, 


Copvnghteil  188'-2,  hy  the  Piililislicrs,  Knowlks  &  Maxim, 


? 


i/ 


/^^ 


BUSINESS    LETTERS. 


1^ 


% 


*i-'-t»a 


\ 


SPENCERIAN   SCRIPT. 


^52^c^Wf/^ 


Copyrighted  1880,  by  Ivison,  Blakeinan,  Taylor  &  Co.,  New  York. 


%-«^ 


Reu 
ver  livei 
>y  permi 
tendium 


SPENCERIAN    SCRIPT. 


Remarks  -This  nn-e  a.ul  tlif-  prooorling  page  are  specimens  of  real  ^critten  copies,  by  Spencerian  Authors,  who  are  known  the  world  over  as  the  ^est  wnters  that 
fever  Ived^r'hesever    pages  are  the  best  written  pages  in  the  world.     They  are  the  best  specimens  of  elega-.t  wr.t.ng  ever  done  wuh  a  pen.      ^  '^^'^  -"  l"^^f;^^^^"„ g^"^ 
rype  mission  from  the  kew  Spencerian  Compendiun,  of  Fen.nanship  published  in  five  parts,  by  Ivnson,  B  akenjan  1  aylor  &  Co    N^^^^^  BlaktnaT.  TaXr  &  Co 
bendium  illustrates  to  perfection  the  great  skill  of  the  Spencers,  and  the  immense  value  of  their  system.     Copyrighted  1880,  by  Ivison,  Blakeman,  laUor  A.  Uo. 


\  ■ ' 


"m 


PROMISSORY    NOTES. 


/^M^^ 


C?k^(^^^^Z^jf.  ms. 


2///c^/^/c^i^i^^U^/ZM^^i^^U^C^ 


dJ^66. 


* 


<§ 


7 


On  t 

Fi 

But 

CI 


(Ml 


SELECT    VERSES   FOR   AUTOGRAPH    ALBUMS. 


Go  forth,  thou  little  volumi', 
I  leave  thee  to  tliy  fate  ; 

To  lovf  iiiid  friendship  truly 
Thy  leaves  1  dedicate. 

The  purest  treasure 
Mortal  times  iifford, 
Is  spotless  reputation. 


'^l^^i^ccit^um/ 


On  the  broad  highway  of  action 
Friends  of  worth  are  far  and  few, 

But  when  one  has  proved  her  friendship, 
Cling  to  her  who  clings  to  you. 


What's  the  use  of  always  fretting 
At  the  trials  we  shall  find 

Ever  strewn  along  our  pathway — 
Travel  on,  and  never  mind. 


On  this  leaf,  in  memory  prest, 
May  my  name  forever  rest. 


If  you  wish  to  laugh 
Glance  at  my  autograph. 


/i/Jtr^ 


As  sure  as  comes  your  wedding  day, 
A  l)room  to  you  I'll  send  ; 

^n  Hiinshiin;  use  the  hrushy  part, 
In  nlorm,  the  other  end. 


Man's  love  is  like  Seotch  snuff — 
You  take  a  pinch  and  that's  enough. 
Profit  i)y  this  sage  advice, 
When  you  fall  in  love,  think  twice. 


Fee  simple  and  simi)le  fee, 

And  all  tlie  fees  in  tail 
Are  nothing  when  compared  to  thee — 

Thou  best  of  fees — fe-male. 


•/^yyyi-\ 


tile/ 


jook  this  department  throufrh  and  you  will 
la^  a  greater  variety  and  more  designi?  ofheaii- 
wkl  flourishing  and  ornamental  pen-Wdrk,  than 
be  found  in  any  other  eolleetion   in  the 
irld. 
jThis  department  eontains  speeiiner.s  oforna- 

ttal  pen-work  l)v  nearly  all  the  i)est  per  .;en 
have  ever  lived, 
hiss  department   is  complete  in  everything 
til  the  torm  of  ornamental  jiemnanship. 

|Tlie    original    drawings    ol"    the    pen-work 
^ms    contained   in   this  department   cost   us 
Iny  thousands  ()rd.)llars,  and    these   perCect 
loto-eleetrographs  of  the  original  drawings. 
HO   perfect   and   exact,  that  they  look  just 
luctly  as  well  as  the  originals  themselves,  and 
a  perfeit  countei'part  and  fac-simile  in  every 
Irticular.    And  as  far  as  actual  value   is  con- 
rned,   these   photo-i'lectrogi-aphs  are   worth 
Bt  as  nnich  as  though  tlu\    wi're  each   done 
parately  with  a  pen  at  great  cost. 


'  Photo-eleetrographing  is  a  new  process  re- 
cently perfec  ted  by  us,  by  means  of  which  we 
are  able  to  repi'oduce  ival  pen-work,  in  any 
color,  or  in  all  colors  and  gold,  so  jterfeet  and 
absolutely  exact,  that  the  reproduction  or 
pholo-electrogra])h,  cannot  he  told  from  the 
original  pen  and  ink  work. 

j  When  we  flrst  perfected  the  ])hoto-electro- 
gra|)lnng  process  we  realized  that  we  could 
jtublish  the  most  perfect  self-instructor  in  jku- 
manship  ever  known. 

"\Ve  saw  at  once,  that  we  could  ])ublish  aii;l 
furnish  at  very  small  cost,  an  amount  and  va- 
riety of  ri'al  written  copies  that  would  cost 
several  thousand  dollars  for  the  execution  of 
the  originals,  and  which  would  be  just  as  good 
in  every  way,  and  in  i'act,  real  pe"-work  the 
same  as  the  original  drawings. 

We  have  |»aid  large  simis  ot  money  to  all 
the  greatest  penmen,  pen-artists  jukI  expert 
writers  all  over  the   world,  and  the  >Self-In- 


jstructor  is  in  reality  a  collecticm  ofall  the  best 

things  and  best  si)i'ciniens  of   elegant    writing 

and  oi'uamental  pen-work  ever  done  by  all  the 

best  penmen,  everywhere,  who  havt' ever  livetl 

j  on  till'  earth. 

!      All  the  best  copies  and  all  the  best  instruct- 

|ions  and  very  best  methods  for  learning  to  do 

ornamental  jjcn-work,  (piickly  and  easily,  ever 

I  taught  by  all  the  very  best   penmen  and    writ- 

|ing  teachers  in  business  I'olleges  and  wi'iting 

schools  in  the   whole  world,  are  contained  in 

this  department  of  the  Keal  Pen-Work  S-lf- 

Instructor.     Evervthing  necessary  to  make  it 

la  veiT  easy  matter  to  h'arn  all  about  ornameii- 

[tal   pemnanshii)   is  contained    in  this    depart- 

jment. 

I  Again  we  sity.  look  this  department  through 
laiei'ully  and  vou  will  lindthe  greatest  variety 
I  of  best  specinu'Us  of  oi-namcntal  pemuanship 
ever  seen,  and  the  best  co|)ies.  and  best  in- 
structions, and  best  methods  ever  known  Ibi- 
learning  the  beautiful  art  yourself. 


„.<^^ 


( 


Full  Inatructlani  for  milking  tliMe  letten  giron  In  tlic  Tracing  Proccit.    Copyrighted    1883,  hj  the  Publiaheni  Kl(OWt.»  Jb  Haziii. 


I 


i 


-^ 


/' 


Full  instructions  for  making  these  Letters  given  in  the  Tracing  Process.     Copyrighted  1882,  by  tlie  Publishers,  Knowles  &  Maxim. 


~;3a 


III 


n 


The  Tracing  Process. 


INSTRUCTIONS 

-IN— 

THE  TRACING  PROCESS. 

The  Tracing  rroucss  hiis  for  a  long  time  been  liiiuwn  to  leading  pen- 
len  and  ]ier.-artiiit!i.  It  Ima  always  l>ucn  kept  a  sort  of  secret.  It  is  the 
icicest  and  best  way  in  tlic  world  to  make  an  exact  copy  of  any  kind  of 
naniental  pen-work. 

The  Tracing  I'rocess  is  so  simple,  plain  anil  easy,  that  a  child  can  make 
I  exact  copy  af  any  kind  of  ornamental  pen-work,  and  do  it  to  wonder- 
1  perfection. 

The  Self-ln.slruclor  is  the  only  work  ever  published,  which  teaches  this 
imenscly  valuable  and  important  Process,  in  connection  with  penman- 
lip. 


'■,.i* 


DO  NOT  FAIL! 


£,  Be  sure  to  read  these  instructions  over  very  carefully,  then  you  will 
jmow  all  about  this  process,  and  you  will  see  and  understand  for  yourself, 
j|Bw  it  is  that  you,  or  anyboily,  can  di^  t\.^\i  nice  jien-work  witiiout  any 
Ifeouble  at  all,  and  right  from  the  very  start.  Takeaslip  orsbeetof  tnins- 
fiirent  tracing  paper,  and  place  it  on  the  picture  to  be  copied;  then  with  a 
■Dod  lead  pencil  trace  all  the  outlines  and  shadings  of  the  entire  picture. 
liftti\  you  have  taken  a  cum]dete  and  perfect  outline  of  the  original  draw- 
^Ig  on  your  tracing  pa))er.  £ 

5  After  you  have  done  this,  turn   your  tracing  paper  over  and  black  the 
^ole  other  side  of  It  with  your  pencil.     Then  i)lace  your  tracing  paper, 
llUcked  side  ilown,  on  your  drawing  paper,   or  where   you   wish  to   make 
lur  drawing,  and  take  a  hard,  fine-pointed  lead  pencil  anil  trace  over  all 


the  outlines  and  shadings  of  the  entire  picture.  Thus  you  print  in  pen- 
eilings  a  perfect  copy  of  the  entire  picture  on  your  drawing  paper.  Af- 
ter you  have  done  this,  it  is  a  very  easy  matter  to  finish  the  picture  with 
pen  and  ink,  by  putting  ink  on  in  place  of  the  pencilings.  and  shading 
according  to  the  shading  of  the  original,  erasing  the  pencil  marks  with  a 
rubber  after  the  ink  is  put  on. 

Now  this  is  all  there  is  to  it.  This  is  all  you  have  to  do  to  work  by  the 
Tracing  Process,  which  you  see  is  very  easy. 

If  you  have  read  these  few  instructions  carefully,  yon  can  now  sit  right 
down  and  make  anexactcopyof  anyof  thcdrav  .ngsin  the  Self-Instructor, 
and  do  it  so  nicely  and  perfectly  that  you  will  astonish  yourself,  and  as- 
tonish everybody  else  who  does  not  know  about  the  Tracing  Process. 

You  see  that  all  the  art  or  skill  that  is  reipiired  to  draw  anything,  is  to 
get  the  construction  lines,  or  the  outlines  and  shade  lines  that  make  up 
the  picture.  By  the  Tracing  Process  all  you  have  to  do  is  to  trace  the 
lines  that  make  any  picture  on  your  tracing  paper,  with  a  pencil,  and  then 
trace  the  pencil  picture  to  your  drawing  paper.  The  designs  on  this  page 
are  perfect  photo-electrographs,  from  real  pen  and  ink  drawings,  made 
l)y  the  Tracing  Process,  from  designs  in  tlie  Self-Instructor.  The  Trac- 
ing Process  is  certainly  the  greatest  means  ever  invented,  or  heard  of,  for 
making  an  exact  copy  of  pen-work. 

TRACING  PAPER. 

As  it  is  sometimes  difficult  to  get  a  good  article  of  Tracing  Paper,  we 
nave  decided  for  the  convenience  of  those  who  use  tlie  Self-Instructor,  to 
furnish  the  very  best  quality  of  Tracing  Paper  for  just  what  it  costs  us, 
which  is  six  sheets  for  2,'>  cents.  We  send  six  full  sheets  for  25  oents 
post  paid.     Send  ))ostage  stamps  in  ]>avinent. 

KNOWI.E8  A  MAXIM,  Publishers. 


INSTRUCTIONS  AND  REMARKS 


I  pictuii;  of  till-  criiiii«iU  D.  T.  Aini'9,  the  ffri'iit  ppiiiimii,  Etlit<»r  ol  clic  Peniiiiii 
t  JouraaL205  Briiiulwav,  N.  Y  ......  .,.-..  .     . 


'he  above  18  ^_ 

.     .- ttiiiif  ac  li"i«  ilesk  flniTrlHliinir.     lie  is  nuuof  the  grpat«'»t  riuI 

t  einluent  penincii  in  the  whole  wr.irlcl.     IIi>  exrcutei!  nil  the  work  ou  this  pajre.     lie   flour- 
letl  It  uU  riijht  oiT,  In  a  few  miHuti'9.    Tiiln  purtrait  wiis  taken  while   he  was  (ioinff  the  work, 
id  y<m  ca«  see  how  ho  «its  and  how  he  holiU  his  pen,  juat  the  name  iw  you  could  if  you  wore  in  \\ 
lofuco  looking  at  hiiu.  V 

:ti»  easy  euouyU  to  d)  ;Ul  this  work  if  yousitaml  linlti  yourpen  In  the  riifUt  position.    Th*    ' 


wve  picture  of  Pnif.  Ames  jihows  how  lie  ^its  and  ImM^  his  ik'ii,  wht-n  actually  at  work.  You 
qmx  ieiirn  to  sit  and  hitlit  vour  pen  in  the  same  position  hv  looting  at  his  picture,  juat  as  well  as 
IW  could  if  you  had  ProV.  Amiii  hmiHi'lf  ritfht  with  v<m 'to  show  you  how. 

^rt^>ryou  once  get  the  correct  poftition,  it  reonircH  but  verv  little  practice  to  he  ahle  to  do  all 

"•  kind  of  work. 


Full  instniclions  for  niiikiiig  tin's  Fish  jrivcn  in  the  Trncing  Process. 


r 


^^ 


HOW  TO  MAKE  A  FLOURISHED  BIRD. 


RcTerse  your  pen,  holdlnff  it  in  the  position  for  flourlflhinff  with  till'  pniiit  t«wnni  rou.  Make  tlir 
winsfsofthebtrJflrnt,  Btrlklng  voiir  lines  in  the  direction  indicatpil  hy  tlir  iirrows,  in  the  or.liTtlit'y 
arc  immberfid  in  the  abnvr  ropv.  Th<'n  turn  vour  pen,  hnlilintc  it  in  thi'  tiirt'ct  position,  U^r  pimitmn 
useii  in  writinir.)  ami  draw  tht-'heaii,  ntrk  ami  breast  of  tlie  bird.  Thi-ii  turn  y<tiirpim.r  bottoinfrmn 
vou,  and  with  pen  rernrsed  in  position  for  flnurishinf?,  strike  the  liiiL'fl  forming  the  tail,  tlu'n  dniw  tlie 
foot  and  the  bird  is  i-ompleted.  Now  this  is  all  lliere  x*  to  it,  and  vou  see  it  is  not  a  hard  matter  tit 
all  Wr  hare  separated  the  parts  of  the  bird  in  the  abo¥e  eopy,  and  numlu-red  them,  so  you  can  sec 
just  how  each  part  is  made  and  just  how  to  begin  and  go  right  to  work  and  make  a  bird.    Nearly  all 


flourished  birds  ar-'  made  or.  this  Hume  gciienil  plan.  Tin*  above  cuts  are  pcrfert  nhot*>-el«'i'trcit'raph)»  from 
the  reut  pen-work.  Tlu'v  were  designed  and  llourisln'd  tt>  show  the  quickest  and  easiest  wav  to 
make  an  elegant  flourished  bird.  Any  one  can  see  that  it  must  be  a  very  easy  matter  to  learn  tu  niake 
the  different  partJ«  of  the  above  bird,  and  anybody  can  also  see  that  it  is  easy  to  eombiue  the  different 
parts  and  so  make  the  bird;  therefore,  it  is  very  easy  to  make  the  bird.  Anybody,  even  the  dullest 
sebolar,  can  make  an  elegant  flourished  bird  by  a  little  praetiee  from  the  above  copy.  All  that  is 
necessary  is  to  sit  down  and  Kxs.  You  will  be  ast^mished  to  see  how  easy  it  is. 
c:npyriithted  I!^H4,  by  the  l^ublishers,  Knowleb  &  Maxim 


[•«:■":•*> 


INSTRUCTIONS. 


Thin  pnf^  shows  vuii  just  liow  to  iiiiiko  itiiTemit  kinds  of  Iiinls. '  It  slutwn  how  to  hr{;ni,  how  to  proceed,  aihl  liow  to  Anish  a  hinl.  This  pa^o  was  deslf^ned  and  executed  hv  John  T).  Williams,  and  ii  th6 
Kivat*"  iiieaiia  ever  kiiuwii  [or  leuriiiiiK  to  make  all  kinds  of  nourished  liirds      Takoii  liy  porioii^sioii  from  Williams  &  IVkiinl's  Uenisof  I'enmauship.     Cop\  righted  l8G(i,  liv  Wifliiims  &  I'nrkanl. 

These  copies  nceil  no  e.xplnimtioii.'t,  iis  thev  explain  iliemselvea.  Kver\  ihin^  ia  made  so  plain  and  limple,  and  easy  to  understand,  that  you  can't  help  seeing  just  what  to  do,  and  huw  to  make  different  kind* 
mt  bird*  without  any  trouble  at  all. 


I 


Til  etc 
kphi'il  fr. 
iMttli'  pi 

:  Bj  the 
'r  kiKiwi 


ORNAMENTAL  DESIGNS  FOR  AUTOGRAPH  ALBUMS. 


Sf ItM'ti'd  iiitd  rii<>ti>-KI('rir>»}!rit))|M'il  (Vnm  the  Autoirmplis  of  rnilnont  ppninrn,  and  nurh  n«  nr«  huccI  by  tbcmt  and  by  tlio  tirst,  ponmrn  eTPrrwhoro,  whrn  they  writr  in  nn  Autoprnpli  Alhutn  thi'insx-lvrN, 

T)tftc  .(t'Bigini  arf  crrtnUity  i">u\v  of  tlit'  finri)  »i\A  Iic«(,  i'v«t  Ci'On.     All  tin-  tlrnlifii"  on  thi^  puff  wprr  actiiully  takf-n  from  Autfi(rrupli  Allium",  an-l  wcrr  cxriuti'ii  tiy  tin-  hi»t  wrrihT^  uixl  ppumrn  of  (In- .i^c.     TKi-r  arc  ail    IMi"to-Kl*'rtro- 
k^hi-fi  fntiii  r'-nl  pen  wnrh,  fTri-titi-d  with  Minrr;i!inr  Wrinnn  Ink»  ol  .litlori  iit  (■•►[..m  iiiit<l''  fr.nn  «>iir  rutrm  Ink  ('iipsiilcft,  tlif  kiinl  of  inko  tliut  arc  lunl  hy  all  tlii'  Insf  wiiti  rs  ;iri<l   ppRmcn,  In  all  fancy  writinK  aiid  JrawiiiR.     Urrquiriti 


llttli'  priu'ticr  ^>  make  any  of  tliraA  ilmi^in,  ami  for  itn  Autofn'tipli  Alhtint  nniliinu  U  no  iirrtty,  i^r  ftn  \iocnl,  lu*  u  nrut,  ni<-<>  di'Hifcn  littp  nnt^  of  tliciw. 
Hy  thfl  'Iractuc  IVuccit,  lUiy  unurun  tracr  <int>  nf  t)u«4'  dt'nUrnft  and  put  II  in  itn  AlbniD  in  ftinnrrtion  with  htn  namo,  with  orarcrlf  tuiyprttctli-f  ett 


.  'Uiy 
^r  kiiDwn  for  doluK  all  kiiida  ut   p*  it  drnwiiii; 


akUl  M  a  |M>ninai).    Hln<ly  the  Trartnfi  Proccw  cnrf  ftilly,  u  It  U  nne  nf  the  (rreatnat 

KNOWVKH  ft  MAXIM,  IViii.iih«hh 


/ 


'^m/:^ 


f 


'>r 


PtiotO'Electrographed  fruni  Ileal  Pen- Work,  by  thf  nuiiient  John  I>.  WiUmnis.    Tiikcii  by  pcrniiMioii  troin  M*illiuiii«  &  PiKknnrs  (ieinA.    Copyriglitcd  1866  by  WUHainii  &  Fucknnt. 


I    I 


i 


/" 


Full    iiiRtriiL'tions  for  niiikiiif?  tlii<i  Swun  ^ircn  in  the  TniciiiK  Process.    Copyrighted  18S2,  by  the  Publiihen,  Knowlib  &  Maxim. 


.,     SB! 


/ 


IUal  l•K^.^VoK»  Lio». 
Fill;  iMtnicUoM  for  nuking  t''«  Llou  glren  In  tlio  Xruoing  l>n)cc§».    C'op)trl|ibleil  1882,  bjr  Knowiin  &  SlAim. 


p. 


Real  1*kn-Wobk  Stag  amd  Dohs. 
Full  imtrurlloiii  how  lo  mnkc  thin  Picture  givpn    in  the  Triirili([  ProicSB.    Copyrilllitrd  ISM,  by  ll"'  rulili»liirii,  KnonlcB  &  Mnxlii 


MHtHMHlMM 


^1 


liEAI.  PenWobK  DEBK. 


Full  inMriiciious  ."or  ninkiiiK  lliis  Di'cr  civ  en  in  the  Trin'ing  Procp"!.    Copyriulitcil  IMS,  liy  Knowi.ks  &  MAXtu. 


mw 


1  ilic  Tnioiug  Process.    Copyrighted  1882,  by  the  PuliU)herl>,  Knowlcs  &  Mniim. 


.# 


.s 


% 


m 


^T.-.W 


Rial  Pin- Work  Horses. 
Full  IlulractioDS  for  making  those  horse  given  in  the  Tracing  Pioccss.    Copyrighted  1884  by  the  publisiierS: 


IlEAl.   I'EN-WoitK   KLOL'HISUKU   HBAUH. 

Full  instrurtiiiiis  for  iintkinc  t!ie«e  Heads  givi'ii  in  the  Tracinfr  ProcesB.    Copyrighted  1884,  by  the  Publisher!',  Kkowlks  &  Maxim 


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Rial  Pen-Wobk  Sketcbino. 
Full  inntructioni  all  nbout  how  to  miike  Uiese  dedmu,  given  In  the  Traclnu  Proceiw.    Copyrighted  1884,  by  the  PublUhcn,  Khowlis  *  Maxih. 


ALL  DONE  WITH  A  SINGLE  STROKE  OF  THE  PEN 


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Saences 

Corporation 


23  \MFST  MAIN  STREET 

WEBSTER,  N.Y.  14580 

(716)  872-4503 


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HEAI,  I*KN-\\'nRK   UrwTic   Alimiahbt. 
Full  instructions  for  ranking  these  Icttrrp  pivtii  in  tin-  Timing  Trorc?*.    Copyriglited  ISM,  liy  the  Publishers,  Kuowles  Sc  Maxim. 


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Fr,„„  Ames-  LesBons  i„  Box  Marking,  Penman', 


8  Art  Journal, 


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Copyri  till  ted  1SH4,  by  tlie  Piil)li<«lien),  Knowlcs  &  Maxim. 


Co|iyrlKlit('il  iss-l,  by  tin-  i'uiilislitr.-',  Kndwi.es  A  MAXiy 


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t'opyrlffbtcd  18U,  by  the  I'ubtihben),  Kuowle^  &  Muxinu 


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Copjrrlglitcil  1894, 1;.-  the  riilili-iiur'^,  Knuwleh  k  Maxim. 


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fOlM.NO    THC  r>^^ 


This  Wonderful  alphabet 

was  all  (Imic  willi  a  .sloel  pen.  This  Alpliabet  is  the  greatest  piooe  oC  artistic  pen 
drawinjr  in  the  iviirld. 

It  is  the  most  beautiful  German  Text  Alphabet,  and  the  most  skillful  and  most 
wonderful  piiTp  of  pen  drawing  ever  done.  Every  letter  is  a  perfect  gem  in  itself, 
a  wonder  of  artistic  skill. 

This  Alplialicl  is  of  ininieuse  value  to  every  penman  and  pen  artist.  Hy  the 
Tracing  Process,  any  oiu'  can  make  an  exact  copy  of  any  letter  of  this  Alphabet, 
without  any  trouble  at  all.  All  penmen  who  liave  the  Self-In.structor.  use  this  Al- 
phabet for  initial  letters  to  begin  an  important  word  or  a  page,  and  for  the  initials 
of  their  own  names.     Yciu  cannot  make  anything  more  beautiful  or  appropriate  as  a 


present  for  friend  sj  than  the  initials  of  your  own  name,  orot  theirmunes,  taken  from 
this  Alphabet,  and  done  with  a  pen  by  yourself,  whicli  yon  can  easily  do  by  the 
Tracing  Process. 

The  origim.l  Pen  and  Ink  drawings  of  this  A1|ihabet  cost  us  an  enormous  sum 
of  money,  and  this  is  a  perfect  Photo-Electrograph  from  the  original  pen  and  ink 
work. 

This  Alphabet  alone  is  worth  the  price  of  a  dozen  Self-Instructors  to  any  pcn- 
nuiii,  writing  teacher,  or  pen  artist,  or  anybody  else  who  cares  anything  about  learn- 
ing to  write  well  or  ilo  nice  pen-work.  Remember,  t-y  the  Tracing  Process  you  can 
nuike  an  exact  pen  and  ink  copy  of  any  of  the  letters  of  this  Alphabet  without  any 
trouble  at  all. 


CopjrrighUHl  1884,  h^  the  Publlitaero,  Knowleh  &  Maxim 


THF  ABOVE  IS  A   PICTURE  OF 

FRANK    BLISS, 

A  BOY  TWELVE  YEARS  OF  AGE. 


We  fiivi"  on  lliin  pjii^i'  two  swaiiM  nindi'  l>y  liim  llic  Miimc 
ilay  i  one  niiulc  bcldiT  iiiiil  one  nfliT  iifin;;  llii'  Triiciii^' 
I'ron-ss. 

Swim  Ni).  2  is  II  iniist  cxcclli'iil  piiM'u  of  oniiiniontiil  pi'ii- 
work  iukI  sIiipws  wimt  wdiiilcrl'iil  improvement  caii  1"'  niiiilr 
\>y  a    child  in  only  one  ilii)'  liy  tlic  'rraciii^'  I'roccss. 

Litlle  Frank  Illins  ciiiiii'  inio  onr  ollicc  anil  inade  swiin 
No.  1,  wliicli  was  tlie  lirst  he  ronld  do  licl'ori'  Iryin;.'  the 
TrHi'inj;  Process.  Then  lie  made  swan  No.  2  the  same  day 
hy  the  Tracing  Process. 

Such  wonilerfnl  improveinent  l>y  a  idiild  in  only  one  day 
is  siniipthini;  never  heard  <il  lielore,  and  is  only  aecounled 
liir  hy  the  Tracing'  I'mcess.  Full  inslnii'tions  and  all 
partieulars  aliont  the  Tracing  Process  are  given  in  this 
book.  . 

The  Tracing  Process  is  the  greatest  means  on  eiirtli  for 
learning  to  do  all  kinds  orornamenlal  pen-work. 


Swan  No.  I. 

BEFORE  USING  THE  TRACING  PROCESS.  * 

'I'lip  ttlicivc  i>  a  Kpii  iiiiin  nf  FllANK  l)i.i»»'»  iicii  ilrnwiiiK  lufim'  inniK  Ihi'  I'riuiiiK  ('mccm. 


^^^g=:^=5??i=^Sv-    ^i^m^^^^ 


'''■(^'-j' f  :fr~  'ijr  ':*'.'     '■'  •' 


Swan  No.  2. 

AFTER  USING  THE  TRACING  PROCESS. 

Tlif  nhovi-  wiis  ilniwri  wUli  ii  pi'ii  liy  Fh.^nk  Hlihh,  l»y  tin-  'rniciiijf  ProccHH,  tin-  llrxt  tiim-  tryinif  tlip  ^nu'cHs,  mul  rhf  vory  iliiy  tliiit  lie  iniuli'  hwiui 
N(i.  I  CHI  tliis  stuiK*  pii^'c.     It  tilmws  wliiit  II  liiiy  twi'lvf  yi-iirs  iit<]  niii  luiirii  to  do  iit  only  our  dity  hy  tlit>  Tnu-iii^'  IVm-i'S.s. 
The  uhuvc  nwaii,  No  'i,  wiw  math'  tlie  Hiime  Hizf  iis  the  ttwmi  in  tin-  hook  froui  whidi  it  wiu*  tiikcn,  hut  wi-  hiivi-  i-t>ihi<-i*i)  it  here  to  ccononiizp  Bpiu't' 


